Most Helpful Customer Reviews

This is a brilliant album, bringing Buzzcocks' classic power pop sound into the new century! The always amazing, catchy and stirring Pete Shelley and Steve Diggle songs are here again, this time enhanced by wonderful production touches. The American bands that have "borrowed" from Buzzcocks (such as Green Day and The Offspring) have benefited from legions of adoring fans - now it's time for Buzzcocks to get their due. The songs on Modern range from those such as "Under the Sun" that could have come off their now-classic albums of the late 70s, to more introspective tunes such as "Rendezvous" that should fit right in on the radio!

The Buzzcocks emerged from Manchester in the late 70's with their self released EP "Spiral Scratch". From there they rode the punk wave, releasing a string of brilliant singles (collected in "Singles Going Steady"). But while they wore the punk mantle, they were essentially a pop band that embraced punk's energy and sense of humor. They disbanded in the early 80's, and after various solo outings (Notably Pete Shelley's "Homosapien" and Steve Diggle's "Flag of Convenience"), sank into obscurity.A complete box set ("Product") appeared in 1989, and in the early 90's the band regrouped for a tour. 1993 saw Shelley and Diggle (with new rhythm section (Phil Barker and Tony Barber) release "Trade Test Transmission", which remarkably picked up right where the band left off in 1980. 1996's "All Set" was also amazingly strong. In an unlikely turn of events, Toyota chose "What Do I Get" for a TV commercial campaign in 2000.Which leads us to the album at hand, "Modern". I wonder why they chose this title...the last thing I want the Buzzcocks to sound is modern! The album is infused with too many synthesizers and drum machines to sound like classic Buzzcocks, and is spotty through the first six tracks. Then the album abruptly rights itself with "Runaround" and "Doesn't Mean Anything" and doesn't falter again.If you are new to the band, search out one of the early compilations such as "Operator's Manual". If you were a fan of the early Buzzcocks and have been leery of the 90's version start with "Trade Test Transmission". "Modern" shows the band maturing somewhat, but considering that most of the band's charm was its immaturity, that isn't necessarily a plus.All that said, this album is far better than you'd have any reason to expect of a 70's punk band that has decided to keep on plugging.

The lads (and lasses) who reviewed this so far seem to have little common ground on which to stand. Some thought the second half picked up while one disjointed and rather cryptic email loved the first half, and another hated all the songs by "Spedding" (which may be a reference to Chris Spedding who has absolutely nothing to do with the Buzzcocks). I'm sure that lad meant Diggle. As it turns out, they're all wrong. "Modern" may not be modern but it is certainly the best product they've made since they "regrouped." Most notable is the improvement Diggle shows. His songs are as good as they used to be (before the awful material he provided TTT). Actually, it shouldn't be too much of a surprise given the progress he demonstrated on "All Set." Fools will complain that this is not the old Buzzcocks. Of course not. It is still the best Buzzcock album since 1979. And it's quite good, for that matter. In fact,I was genuinely surprised just how good it turned out to be.

OK, so the Buzzcocks aren't still recording "What Do I Get?" and "Ever Fallen In Love...". Get over it. Buy Singles Going Steady or one of the other compilations and play it until you've heard enough. Then approach this crisply produced 1999 release with open ears. The band's most experimental outing, it contains songs that would be at home on a Pete Shelley solo disc ("Why Compromise"), strong writing contributions from Steve Diggle, and the feel of a co-operative effort between four accomplished artists who are simply interested in presenting their music in a new and different setting.Plus, it rocks! Full marks to bassist and producer Tony Barber for giving the band's sound the clean, tight bottom end and airy mids and highs that 1993's Trade Test Transmissions approached but didn't quite achieve.Finally, contrary to what seems to be the critical consensus about the Buzzcocks' 1990s output, I feel 1996's All Set was the low point, with some of Shelley's corniest and least imaginative lyrics and a muddy, shallow sound. Modern is a great rebound, and deserves a whole lot more respect (and more sales!) than it has garnered.

These are some of the best hook-heavy songs Pete and Steve have ever written under the Buzzcocks mantle!

How fortunate to have a bass and drum player who have the Buzzcockssound down so well, you'd hardly notice that they're the only new members of the reformed band, but as boring as that sounds to long-time fans, it's really the only reason they've been so successful since they regrouped on TTT.

Pete and Steve's song formula is not unlike the power-punk 2 minute diddyperfected by a fellow era regrouped Undertones, although to my knowledge, the Undertones have only managed 1 new album since they regrouped.

Not everyone appreciates new Buzz, some refuse to listen to anything but the 70 - early 80's material, granted the early material was a bit more raw in lyrical and music edge, but that was probably due to the relative energy of their youth, now they do pretty good for being 50-somethings, there are plenty of bands who can't write comparably good music in their youth without using a computer to arrange all their stuff into bubble-popjizzum, shoot once, don't expect much after one play.

I can't help but feel compelled to sing along whenever I'm playing this CD, but that's just me, a geeky old fart.